University of Wisconsin-Green Bay

Literature and Styles in Music I

I Cadences Appear in Chromatically-altered Forms

A. Raised leading tones appears (even doubled raised leading tones)

B. Chromaticism in general more common, not just to avoid tritones but to create smoother line

II Musica Ficta

A. Emergence of tradition in which certain chromatic alterations are assumed as normal part of performance practice and not necessarily notated

B. Examples: chromaticism to avoid tritones and to raised leading tones at cadences (and sometimes elsewhere)

I Italian System

A. Chief theorist: Marchetto da Padua

uses dots and other signs to separate semibreves into groups (cf. Petrus de Cruce)
some new note forms used to indicate exceptions to the standard formula

B. Italian system begins to be replaced by French system in last part of century

II French System

A. Based on extension of Franconian Principles

Long, Breve and Semibreve could each be divided into groups of two (imperfect) or 3 (perfect)
Division of long = Mood (long-range phrasing)
- Division of Breve = Time
- Division of Semibreve = Prolation
- These result in "Prolational Signatures"
  - "Perfect" Time and "Major" (or "Greater") Prolation would result in a meter equivalent to 9/8: the "measure" (i.e., the Breve) would be divided into 3 main units (Semibreves) and they would in turn each be subdivided into 3 subunits (called Minims)
  - "Imperfect" Time and "Major" Prolation would result in a meter equivalent to 6/8: the "measure" (the Breve) would be divided into 2 main units (Semibreves) and they would in turn be subdivided into 3 subunits (Minims)
  - using the same logic, "Perfect" Time and "Minor" (or "Lesser") Prolation would result in a meter equivalent to 3/4 and "Imperfect" Time and "Minor" Prolation would result in a meter equivalent to 2/4
- Red dots sometimes used to indicate unexpected "perfections"

B. After 1425, shift from "black" notation to primarily "white notation"

Last Update 6/21/06